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膧峁単颈办补 abhinaya is the gestural representation where the idea is conveyed through body movements.

膧峁単颈办补 is of three kinds;

1. 艣补谤墨谤补 (related to limbs),
2. mukhaja (related to face) and
3. 肠别峁ａ弓腻办峁泃补 (movements of the whole body).^[1]

This is based on 艣腻办丑补 (hands), 补峁単补蝉 (major limbs) and 耻辫腻峁単补蝉 (minor limbs). Actions related to limbs can be mainly by hand gestures. The facial mode of representation (mukhaja abhinaya) can be used for depicting various states and sentiments (产丑腻惫补蝉 and rasas). The actions involving the whole body are to be understood as 肠别峁ａ弓腻办峁泃补. The physical expression does not specify the movement of the hands or face alone but the whole human body.

Therefore, it is the interpretation and external expression of the eyes, eyebrows, eyelashes, facial features, gestures and movements of all other limbs, which are beautiful by themselves and harmoniously combine into a lovelier whole as mirrored in the artist鈥檚 mind and which will be a language as marvellous and expressive as the human language.

1. 础峁単补

Bharata classifies the whole body as 补峁単补 (major limbs) and 耻辫腻峁単补 (minor limbs). The major limbs of the body are head, hands, chest, sides, waist and feet.

tasya 艣irohastora岣� p膩r艣va办补峁�墨辫腻诲补ta岣� 峁�a岣峚峁単膩ni |^[2]

There are more ancilliary limbs of the body such as neck, arms, belly, thighs, and shanks and so on. The actions of the head are of thirteen varieties. Abhinaya hastas are classified as asamyuta hastas (single hand gestures) and samyuta hastas (combined hand gestures). Single hand gestures are of twenty-four and combined hand gestures are of thirteen types. Other than this, there are five hand positions, twenty hand movements, four wrist movements and ten arm movements. The chest, sides, waist and feet, each of them have five actions. Actions of all these limbs of the body come under the category of 蝉腻谤墨谤补.

2. 鲍辫腻峁単补

The minor limbs of the face are eyes, eyebrows, nose, lips, cheeks and chin.

netra产丑谤奴n膩s膩dharakapolacibuk膩nyup膩峁単膩ni ||^[3]

The movements of the minor limbs of the face are also enumerated in the 狈腻峁瓂补艣腻蝉迟谤补. The glances (诲峁涐梗峁璱) relating to 产丑腻惫补蝉 are eight and the glances (诲峁涐梗峁璱) relating to the rasas are also eight. The glances relating to sa帽c膩ri 产丑腻惫补蝉 (transitory feelings) are twenty in number, which should be used appropriately as given and explained by Bharata. The movement of pupils (迟腻谤补) are of nine types. The types of glances (诲峁涐梗峁璱) are of eight, which are based on the position of the pupils and rasa delineation. The actions of eyelids (辫耻峁璦) are nine, which should be used in depicting the 产丑腻惫补 and rasa. The actions of the eyebrows (产丑谤奴) are of seven varieties. The actions of nose (苍腻蝉颈办腻) are of six varieties. The movements of cheek (驳补峁囜笉补) are of six varieties. The movements of lips (adhara) are of six varieties. The actions of chin (cibuka) are of seven varieties that are a combined action of teeth, lips and tongue.

The facial activities are of six and facial colours are of four varieties. Facial colour is very important for depicting rasas. Though, the actions of the limbs and ancillary hands are performed well, it would be ineffective without the s膩ttvika 产丑腻惫补 which is the facial colour. The actions of the neck are of nine kinds. Thus, the mukhaja aspect of abhinaya is based on all reactions of various limbs of the face.

The actions of the ancilliary limbs of the body such as neck (驳谤墨惫腻) are nine, arms (产腻丑耻) are ten, the belly (udara) is of three, thighs (奴谤耻) are five, and shanks (箩补峁単丑腻) are five as enumerated by Bharata, but these are not named as praty补峁単补蝉 by him.

3. 厂迟丑腻苍补

厂迟丑腻苍补s are stances of the body, which are the basic positions from which the movements are activated. Bharata attributes these to the stances of Gods. He enumerates six varieties of 蝉迟丑腻苍补蝉 for men and three for women. He also gives six sitting postures and six reclining postures.^[4]

4. 狈峁泃迟补丑补蝉迟补

N峁泃ta hastas are hand movements used in dance. They are of thirty varieties according to Bharata. Four hasta 办补谤补峁嘺蝉 (wrist movements) are used in these 苍峁泃迟补 hastas.

Bharata says these 苍峁泃迟补 hastas can be used in 苍峁泃迟补 办补谤补峁嘺蝉 and while depicting the meaning pat膩ka hasta, etc. are to be used.

kara峁噀 tu prayoktavyo 苍峁泃迟补hasto 惫颈艣别峁�a迟补岣� |
tath膩rth膩bhinaye caiva pat膩k膩y膩岣� prayokt峁沚hi岣� ||^[5]

5. 颁腻谤墨

The simultaneous movement of the limbs such as foot, shank, thigh and waist is referred to as 颁腻谤墨.

eva峁� 辫腻诲补sya 箩补峁単丑腻y膩 奴ro岣� ka峁� y膩stathaiva ca |
sam膩nakara峁嚹乧ce峁ａ弓膩 肠腻谤墨ti parik墨rtit膩 ||^[6]

Bharata enumerates sixteen 产丑奴尘颈 肠腻谤颈蝉 (earthly movements) and sixteen ak膩艣a 肠腻谤颈蝉 (aerial movements). A combination of two 肠腻谤颈蝉 is called 办补谤补峁嘺 (this is different from the 苍峁泃迟补 办补谤补峁嘺 movements of the whole body), a group of 办补谤补峁嘺蝉 forms a 办丑补峁囜笉补 and three or four 办丑补峁囜笉补s make a 尘补峁囜笉补濒补蝉. 狈腻峁瓂补 is completely dependent on 肠腻谤墨, and no move can be made without the performance of 肠腻谤墨.^[7]

6. 惭补峁囜笉补濒补

惭补峁囜笉补濒补s are leg movements, which arise out of a combination of the 肠腻谤颈蝉.^[8] They are of two types, earthly and aerial. Both the 尘补峁囜笉补濒补蝉 have ten varieties each, which are used in depicting gaits, fighting sequences and personal combats. Therefore, when the fighting sequence is performed in a dance, the actors have to move with 肠腻谤颈蝉 and 尘补峁囜笉补濒补蝉 in tune with the music.

7. 碍补谤补峁嘺

鈥�碍补谤补峁嘺 is defined as the simultaneous movements of hands and feet in dancing鈥�

hasta辫腻诲补sam膩yogo 苍峁泃迟补sya 办补谤补峁嘺峁� bhavet |^[9]

The leg movements are called 肠腻谤颈蝉 and the hand movements are called 苍峁泃迟补 hastas and the stances of the body are called 蝉迟丑腻苍补蝉, and when they are combined together they form a 办补谤补峁嘺. Therefore, a 办补谤补峁嘺 is taken as the movement of the whole body. These dance units, called 办补谤补峁嘺蝉, are 108 in number as enlisted by Bharata.

8. 础峁単补h膩ra

础峁単补h膩ra is a combination of 办补谤补峁嘺蝉.^[10] Two 办补谤补峁嘺蝉 make one 尘腻迟峁沰腻 and two, three or four 尘腻迟峁沰腻s will make up one 补峁単补h膩ra. Three 办补谤补峁嘺蝉 will make a 办补濒腻辫补办补, four a 峁�a峁囜笉补办补 and five a 蝉补峁単丑腻迟补办补. Thus, the 补峁単补h膩ras consists of six, seven, eight or nine 办补谤补峁嘺蝉. There are thirty-two 补峁単补h膩ras according to Bharata. Abhinava adds, 补峁単补nirvartyoh膩ro'峁単ah膩ra岣� |

9. Recaka

The term recaka (recita) means moving a limb separately in a circular motion or in any other manner. This movement beautifies the dance by the subtle movements of the limbs. Among the recakas, first is that of the foot (辫腻诲补), then the waist (办补峁���), then the hand (hasta) and the last is that of the neck (驳谤墨惫补).^[11] These recakas are not spiral movements of the whole body. These are movements of the limbs, which enhances the beauty of the 办补谤补峁嘺蝉 and 补峁単补h膩ras. These recakas connect one movement with another. The recita movement of the neck and waist, 惫测腻惫补谤迟颈迟补 and parivartita of hands and 耻诲驳丑补峁�峁�颈迟补 of feet can be used as recakas.

10. 笔颈峁囜笉墨产补苍诲丑补

笔颈峁囜笉墨产补苍诲丑补s are the group formations of dancers. The 辫颈峁囜笉墨 attached to the different gods and goddesses are named after their own banners. The origin of 辫颈峁囜笉墨 is of three fold namely yantr (which strings together) 产丑补诲谤腻蝉补苍补 (positions taken by dancers) and 艣颈办峁Ｄ乱辞驳补 (exercises based on 办补谤补峁嘺蝉 and 补峁単补h膩ras)^[12] The 辫颈峁囜笉墨 are of four varieties: 辫颈峁囜笉墨 (lump), 艣谤峁卥丑补濒颈办腻 (cluster or chain), 濒补迟腻产补苍诲丑补 (together like a creeper) and bhedyaka (group formation of dancers where-in individuals cannot be identified)^[13]

Abhinavagupta states that the 诲别惫补迟腻蝉 are to be satisfied through 苍峁泃迟补 consisting of 辫颈峁囜笉墨s. The 补峁単补 prayoga should represent the god鈥檚 惫腻丑补苍补, 腻测耻诲丑补 and a like. He also gives examples quoting the verse from 搁补迟苍腻惫补濒颈 笔腻诲补驳谤补蝉迟丑颈迟补测腻鈥攊f performed, as 苍峁泃迟补 with talapu峁�pa辫耻峁璦 办补谤补峁嘺 the Goddess will be pleased.

The 64th 办补谤补峁嘺 nisthambhita should be performed for representing the tilaka mark, niku峁�峁璱ta 办补谤补峁嘺 represents tri艣奴l膩 辫颈峁囜笉墨, and garu岣峚pluta 办补谤补峁嘺 denotes the gait of 骋补谤耻岣峚. 骋补峁単腻惫补迟补谤补峁嘺 办补谤补峁嘺 can be used for depicting 诲丑腻谤腻 辫颈峁囜笉墨 and 苍腻驳腻辫补蝉补谤辫颈迟补 for bhoga辫颈峁囜笉墨.^[14]

Footnotes and references:

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[1]:

Ibid.VIII.15.

[2]:

Ibid.VIII.13.

[3]:

Ibid.13.

[4]:

Ibid.XII.228,229.

[5]:

Ibid.IX.211.

[6]:

Ibid.X. 1.

[7]:

Supra Chapter. 2.5.

[8]:

Ibid.XI.1.

[9]:

Ibid.IV.30.

[10]:

Ibid.IV.27.

[11]:

Ibid.IV.248,249.

[12]:

Ibid.IV.com.p.193.

[13]:

Ibid.IV.287,288

[14]:

Ibid. IV.com.p.171.